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Stanley Chase Papers LSC.1090
http://oac.cdlib.org/findaid/ark:/13030/kt6h4nc876 No online items Finding Aid for the Stanley Chase Papers LSC.1090 Processed by Timothy Holland and Joshua Amberg in the Center For Primary Research and Training (CFPRT), with assistance from Laurel McPhee, Fall 2005; machine-readable finding aid created by Caroline Cubé and edited by Josh Fiala, Caroline Cubé, Laurel McPhee and Amy Shung-Gee Wong. UCLA Library Special Collections Online finding aid last updated on 2020 December 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Stanley Chase LSC.1090 1 Papers LSC.1090 Contributing Institution: UCLA Library Special Collections Title: Stanley Chase papers Creator: Chase, Stanley Identifier/Call Number: LSC.1090 Physical Description: 157.2 Linear Feet(105 boxes, 12 oversize boxes, 27 map folders) Date (inclusive): circa 1925-2001 Date (bulk): 1955-1989 Abstract: Stanley Chase (1928-) was a theater, film, and television producer. The collection consists of production and business files, original production drawings, posters, press clippings, sound recordings, and scripts from his major projects. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisual materials. -
Begging Questions in Wole Soyinkas Opera Wonyosi"
Begging Questions in Wole Soyinkas u Opera Wonyosi" BERNTH LINDFORS IN AN ARTICLE published in The American Scholar in the sum• mer of 1963, Wole Soyinka, a young Nigerian dramatist whose first published plays had appeared in print just a few weeks earl• ier, castigated an older and better-known African author, Cam- ara Laye of Guinea, for pandering to European critical conde• scension by writing his second novel, The Radiance of the King, in a Western creative idiom. Soyinka deplored the fact that this allegedly indigenous piece of fiction was modelled so closely on Franz Kafka's The Castle, for he believed that : .. most intelligent readers like their Kafka straight, not geo• graphically transposed. Even the character structure of Kafka's Castle has been most blatantly retained — Clarence for Mr. K. ; Kafka's Barnabas the Messenger becomes the Beggar Intermedi• ary; Arthur and Jeremiah, the unpredictable assistants, are turned into Nagoa and Noaga. We are not even spared the role of the landlord — or innkeeper—take your choice! It is truly amazing that foreign critics have contented themselves with merely drop• ping an occasional "Kafkaesque" — a feeble sop to integrity — since they cannot altogether ignore the more obvious imitative- ness of Cámara Laye's technique. (I think we can tell when the line of mere "influence" has been crossed.) Even within the primeval pit of collective allegory-consciousness, it is self-destruc• tive to imagine that the Progresses of these black and white pil• grims have sprung from independent creative stresses.1 There are two points worth noting here. -
Kurt Weill Newsletter Protagonist •T• Zar •T• Santa
KURT WEILL NEWSLETTER Volume 11, Number 1 Spring 1993 IN THI S ISSUE I ssues IN THE GERMAN R ECEPTION OF W EILL 7 Stephen Hinton S PECIAL FEATURE: PROTAGON IST AND Z AR AT SANTA F E 10 Director's Notes by Jonathan Eaton Costume Designs by Robert Perdziola "Der Protagonist: To Be or Not to Be with Der Zar" by Gunther Diehl B OOKS 16 The New Grove Dictionary of Opera Andrew Porter Michael Kater's Different Drummers: Jazz in the Culture of Nazi Germany Susan C. Cook Jilrgen Schebera's Gustav Brecher und die Leipziger Oper 1923-1933 Christopher Hailey PERFORMANCES 19 Britten/Weill Festival in Aldeburgh Patrick O'Connor Seven Deadly Sins at the Los Angeles Philharmonic Paul Young Mahagonny in Karlsruhe Andreas Hauff Knickerbocker Holiday in Evanston. IL bntce d. mcclimg "Nanna's Lied" by the San Francisco Ballet Paul Moor Seven Deadly Sins at the Utah Symphony Bryce Rytting R ECORDINGS 24 Symphonies nos. 1 & 2 on Philips James M. Keller Ofrahs Lieder and other songs on Koch David Hamilton Sieben Stucke aus dem Dreigroschenoper, arr. by Stefan Frenkel on Gallo Pascal Huynh C OLUMNS Letters to the Editor 5 Around the World: A New Beginning in Dessau 6 1993 Grant Awards 4 Above: Georg Kaiser looks down at Weill posing for his picture on the 1928 Leipzig New Publications 15 Opera set for Der Zar /iisst sich pltotographieren, surrounded by the two Angeles: Selected Performances 27 Ilse Koegel 0efl) and Maria Janowska (right). Below: The Czar and His Attendants, costume design for t.he Santa Fe Opera by Robert Perdziola. -
U.S. National Tour of the West End Smash Hit Musical To
Tweet it! You will always love this musical! @TheBodyguardUS comes to @KimmelCenter 2/21–26, based on the Oscar-nominated film & starring @Deborah_Cox Press Contacts: Amanda Conte [email protected] (215) 790-5847 Carole Morganti, CJM Public Relations [email protected] (609) 953-0570 U.S. NATIONAL TOUR OF THE WEST END SMASH HIT MUSICAL TO PLAY PHILADELPHIA’S ACADEMY OF MUSIC FEBRUARY 21–26, 2017 STARRING GRAMMY® AWARD NOMINEE AND R&B SUPERSTAR DEBORAH COX FOR IMMEDIATE RELEASE (Philadelphia, PA, December 22, 2016) –– The Kimmel Center for the Performing Arts and The Shubert Organization proudly announce the Broadway Philadelphia run of the hit musical The Bodyguard as part of the show’s first U.S. National tour. The Bodyguard will play the Kimmel Center’s Academy of Music from February 21–26, 2017 starring Grammy® Award-nominated and multi-platinum R&B/pop recording artist and film/TV actress Deborah Cox as Rachel Marron. In the role of bodyguard Frank Farmer is television star Judson Mills. “We are thrilled to welcome this new production to Philadelphia, especially for fans of the iconic film and soundtrack,” said Anne Ewers, President & CEO of the Kimmel Center for the Performing Arts. “This award-winning stage adaption and the incomparable Deborah Cox will truly bring this beloved story to life on the Academy of Music stage.” Based on Lawrence Kasdan’s 1992 Oscar-nominated Warner Bros. film, and adapted by Academy Award- winner (Birdman) Alexander Dinelaris, The Bodyguard had its world premiere on December 5, 2012 at London’s Adelphi Theatre. The Bodyguard was nominated for four Laurence Olivier Awards including Best New Musical and Best Set Design and won Best New Musical at the WhatsOnStage Awards. -
Ma Che Amore Di Festival!
CULTURA E SPETTACOLI riRAIUNO ore 23.10 Venti campioni e sedici esordienti I ritorni di Caterina Caselli Speciale Tg si sfideranno a Sanremo, e Milva, l'immancabile Cutugno Come finirà quasi tutti con motivi dedicati E i soliti «bene informati» runs? d più cantato dei sentimenti già dicono che vinceranno i Pooh M Giulio Borrelli e Demetrio Volete hanno curato, per gli speciali del Tgl, questo servi- : zio dedicato all'Unione Sovie tica. L'odio tra armeni e azeri 6 diventato ormai guerra aper ta: la rivolta delle nazionalità Alberto Semprini con Domenico Modugno nel 1958 a Sanremo (dal Baltico al Caucaso) e il Ma che Amore di festival! rischio di bancarotta econo mica hanno determinato uno dei momenti più difficili nella Venti canzoni formato campioni» e sedici taglia storia dell'Urss. La popolazio «esordienti». Una sfilza di titoli dedicati all'amore Ecco le magnifiche 36 ne è contusa: >A voi, in Occi in tutte le salse: dall'amore al singolare a Gli amorì Addio Semprini, dente. Gorbaciov place - dice plurali, dall'imperativo Vattene amore allo scettico 120 CAMPIONI uno degli intervistati - perché Ma quale amore, fino al poetico Oh dolce amor. Marcella e Gianni Bella Verso l'Ignoto e bravo in politica estera, ma Eugenio Bennato e Tony Esposito Novecento autwledersehen «uomo orchestra» da noi le cose vanno peggio Un enigmatico e lapidario A e persino un Ringra Lena Blolcati Amore di prima». Ce la farà Gorby? ziando Dio. Sanremo 1990, quello del quaranten Caterina Caselli Bisognerebbe non pensar» che a te Speciale Tgl cercherà di ri nale, è pronto a partire. -
BROOKS ATKINSON THEATER (Originally Mansfield Theater), 256-262 West 47Th Street, Manhattan
Landmarks Preservation Commission November 4, 1987; Designation List 194 LP-1311 BROOKS ATKINSON THEATER (originally Mansfield Theater), 256-262 West 47th Street, Manhattan. Built 1925-26; architect Herbert J. Krapp. Landmark Site: Borough of Manhattan Tax Map Block 1018, Lot 57. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Brooks Atkinson Theater and the proposed designation of the related Landmark Site (I tern No. 7). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has · received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Brooks Atkinson Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built during the mid-1920s, the Brooks Atkinson was among the half-dozen theaters constructed by the Chanin Organization, to the designs of Herbert J. Krapp, that typified the development of the Times Square/Broadway theater district. Founded by Irwin S. Chanin, the Chanin organization was a major construction company in New York. During the 1920s, Chanin branched out into the building of theaters, and helped create much of the ambience of the heart of the theater district. -
Addio Milva, Rossa Tra Microfoni E Lustrini
Addio Milva, rossa tra microfoni e lustrini - Stefano Crippa, 25.04.2021 Icone. Voce possente ma dalle modulazioni infinite, la morte a 81 anni dell’artista che mise a braccetto cultura e pop Cascata di capelli rossi, mises elegantissime, sguardo penetrante che infiamma la platea: non si poteva resistere alla cantante di Goro – Milva – scomparsa ieri a ottantun anni dopo un ritiro decennale a vita privata per motivi di salute. Voce possente ma dalle modulazioni infinite, capace allo stesso tempo di passare dalle ardite sperimentazioni di un’opera di Berio alle pieghe della Storia racchiusa nei capolavori brechtiani lasciandosi scivolare addosso partiture pop con lo stesso immutato entusiasmo. Poche, pochissime artiste hanno saputo reggere palcoscenici tanto diversi – La Scala, l’Olympia, Carnegie Hall, Studio Uno – con tanta padronanza. Ecco, con Milva l’irrequietezza della ricerca tout court e l’afflato popolare andavano a braccetto senza che mai sembrasse una forzatura: Piazzolla e Amalia Rodriguez, Berio come un malizioso brano dei Pooh («Hai le braghe che scoppiano…», Uomini addosso, 1993). L’ascoltavi prodursi nell’Opera da tre soldi e la stessa emozione la metteva sul palco del festival di Sanremo, frequentato per ben quindici volte – un record tuttora imbattuto – ma senza che mai riuscisse a vincerlo, come lei stessa ricordava prendendosi in giro con garbata ironia. LA DEFINIZIONE più bella dell’arte e delle doti artistiche di Milva l’ha data Enzo Jannacci, che le ha cucito addosso nel 1980 un vero e proprio manifesto musicale e esistenziale: La Rossa – album di rivisitazioni dove l’interprete di Goro sostituisce al canto sgangherato dell’autore il suo contralto profondo e passionale. -
To Rock Or Not Torock?
v7n3cov 4/21/02 10:12 AM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV V OLUME 7, NUMBER 3 Exclusive interview with Tom Conti! TOTO ROCK ROCK OROR NOTNOT TOROCK?TOROCK? CanCan youyou smellsmell whatwhat JohnJohn DebneyDebney isis cooking?cooking? JOHNWILLIAMSJOHNWILLIAMS’’ HOOKHOOK ReturnReturn toto NeverlandNeverland DIALECTDIALECT OFOF DESIREDESIRE TheThe eroticerotic voicevoice ofof ItalianItalian cinemacinema THETHE MANWHO CAN-CAN-CANCAN-CAN-CAN MeetMeet thethe maestromaestro ofof MoulinMoulin Rouge!Rouge! PLUSPLUS HowardHoward ShoreShore && RandyRandy NewmanNewman getget theirs!theirs! 03> 7225274 93704 $4.95 U.S. • $5.95 Canada v7n3cov 4 /19/02 4 :29 PM P age c2 composers musicians record labels music publishers equipment manufacturers software manufacturers music editors music supervisors music clear- Score with ance arrangers soundtrack our readers. labels contractors scoring stages orchestrators copyists recording studios dubbing prep dubbing rescoring music prep scoring mixers Film & TV Music Series 2002 If you contribute in any way to the film music process, our four Film & TV Music Special Issues provide a unique marketing opportunity for your talent, product or service throughout the year. Film & TV Music Summer Edition: August 20, 2002 Space Deadline: August 1 | Materials Deadline: August 7 Film & TV Music Fall Edition: November 5, 2002 Space Deadline: October 18 | Materials Deadline: October 24 LA Judi Pulver (323) 525-2026, NY John Troyan (646) 654-5624, UK John Kania +(44-208) 694-0104 www.hollywoodreporter.com v7n03 issue 4/19/02 3:09 PM Page 1 CONTENTS MARCH/APRIL 2002 cover story departments 14 To Rock or Not to Rock? 2 Editorial Like it or hate it (okay, hate it), the rock score is Happy 70th, Maestro! here to stay. -
Hello, Dolly! from Wilder to Kelly Julie Vatain-Corfdir, Emilie Rault
Harmony at Harmonia? Glamor and Farce in Hello, Dolly! from Wilder to Kelly Julie Vatain-Corfdir, Emilie Rault To cite this version: Julie Vatain-Corfdir, Emilie Rault. Harmony at Harmonia? Glamor and Farce in Hello, Dolly! from Wilder to Kelly. Sorbonne Université Presses. American Musicals: Stage and Screen / La Scène et l’écran, 2019. hal-02443099 HAL Id: hal-02443099 https://hal.sorbonne-universite.fr/hal-02443099 Submitted on 16 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Harmony at Harmonia? Glamor and farce in Hello, Dolly!, from Wilder to Kelly Julie Vatain-Corfdir & Émilie Rault When Hello, Dolly! opened on Broadway in January 1964, immediately to be hailed as “a musical shot through with enchantment,”1 New York audiences were by no means greeting Dolly for the first time. Through a process of recycling which probably owed as much to the potential of the original story as it did to a logic of commercial security, the story of Mrs. Dolly Levi – the meddling matchmaker who sorts out everyone’s love lives and contrives to marry her biggest client herself – had been prosperous on stage and screen for the previous ten years, and would continue to attract audiences to this day.2 Not unlike My Fair Lady, which previously held the record for longest-running Broadway musical, Hello, Dolly! trod on the “surer road to success,”3 with a book based on a popular play by an acclaimed playwright – Thornton Wilder’s The Matchmaker –, and one which had already been famously adapted to the screen with a cast starring, among others, Shirley Booth and Shirley MacLane. -
Baroque 1590-1750 Classical 1750-1820
Period Year Opera Composer Notes A pastoral drama featuring a Dafne new style of sung dialogue, 1597 Jacopo Peri more expressive than speech but less melodious than song The first opera to survive 1600 Euridice Jacopo Peri in tact The earliest opera still 1607 Orfeo Claudio Monteverdi performed today Il ritorno d’Ulisse in patria Claudio Monteverdi 1639 (The Return of Ulysses) L’incoronazione di Poppea 1643 (The Coronation of Poppea) Claudio Monteverdi 1647 Ofeo Luigi Rossi 1649 Giasone Francesco Cavalli 1651 La Calisto Francesco Cavalli 1674 Alceste Jean-Baptiste Lully 1676 Atys Jean-Baptiste Lully Venus and Adonis John Blow Considered the first English 1683 opera 1686 Armide Jean-Baptiste Lully 1689 Dido and Aeneas Henry Purcell Baroque 1590-1750 1700 L’Eraclea Alessandro Scarlatti 1710 Agrippina George Frederick Handel 1711 Rinaldo George Frederick Handel 1721 Griselda Alesandro Scarlatti 1724 Giulio Cesere George Frederick Handel 1728 The Beggar’s Opera John Gay 1731 Acis and Galatea George Frederick Handel La serva padrona 1733 (The Servant Turned Giovanni Battista Pergolesi Mistress) 1737 Castor and Pollux Jean-Philippe Rameau 1744 Semele George Frederick Handel 1745 Platee Jean-Philippe Rameau La buona figliuola 1760 (The Good-natured Girl) Niccolò Piccinni 1762 Orfeo ed Euridice Christoph Willibald Gluck 1768 Bastien und Bastienne Wolfgang Amadeus Mozart Mozart’s first opera Il mondo della luna 1777 (The World on the Moon) Joseph Haydn 1779 Iphigénie en Tauride Christoph Willibald Gluck 1781 Idomeneo Wolfgang Amadeus Mozart Mozart’s -
Cambridge Opera Handbooks Richard Wagner Tristan Und Isolde
Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information Cambridge Opera Handbooks Richard Wagner Tristan und Isolde Wagner’s Tristan und Isolde occupies a singular position in the history of Western culture. What Nietzsche called the ‘terrible and sweet infinity’ of its basic nexus of longing and death has fascinated audiences since its first performance in 1865. At the same time, its advanced harmonic language, immediately announced by the opening ‘Tristan chord’, marks a defining moment in the evolution of modern music. This accessible handbook brings together seven leading international writers to discuss the opera’s genesis and the libretto’s relationship to late Romantic literary concerns, to present an analysis of the Prelude, the music of the drama itself, and Wagner’s innova- tive use of instrumental timbre, and to illustrate the production history and reception of the music-drama into the twenty-first century. The book includes the first English translation of Wagner’s prose draft of the libretto, a detailed discussion of Wagner’s orchestration, and rare pictures from important and influential productions. Arthur Groos is Avalon Foundation Professor in the Humanities at Cornell University, where he has taught since 1973. A member of the departments of German Studies, Medieval Studies, and Music, his musical interests focus on issues of music and culture, and opera, especially Wagner, Puccini, and modern opera. His books include Giacomo Puccini: La bohème (with Roger Parker, 1986) and Romancing the Grail: Genre, Science, and Quest in Wolfram’s Parzival (1995), as well as the collections Reading Opera (1988), Madama Butterfly: Fonti e documenti (2005), and seven other edited volumes. -
Newsletfer Volume 11, Number 2 Fall 1993
KURT WEILL NEWSLETfER Volume 11, Number 2 Fall 1993 Three Value d Collaborators Top: Maurice Abravanel confers with Weill at the Kassel premiere of Aufstieg imd Fall der Stadt Mahagonny, 1930. Middle: Hans W. Heinsheimer Bottom: Agnes de Mille rehearses dancers for the premiere of One Touch of Venus. 1943. IN THIS ISSUE T HREE VALUED C OLLABORATORS s ZAR AND P ROTAGONIST IN SANTA Fe 8 FROM THE A RCHIVES: R ECENT A CQUISITIONS 10 B OOKS 14 Kim H. Kowalke and Horst Edler, eds. A Stranger Here Myself: Kurt Weill-Studien Ciselher Schubert Pascal Huynh, ed. Kurt Weill: de Berlin aBroa dway Evelyn Pieiller Paul Cummins. Dachau Song: The Twentieth-Century Odys sey of Herbert Zipper; Joachim Lucchesi, ed. Hermann Scherchen: Werke und Briefe in 8 Banden; Band I , Schriften 1. Christopher Hailey PERFORMANCES 17 Street Scene in Munich Horst Koegler Mahagonny Songspiel and Knickerbocker Holiday in London Patrick O'Connor Cry, the Beloved Country in Chicago James Zychowicz Der Jasager in New York Stephen Hinton Symphony No.1 in Philadelphia Ofer Ben-Amots R ECORDINGS 21 Lost in the Stars Jon Alan Conrad Vom Tod im Wald, Concerto for violin and wind instru ments, Das Berliner Requiem Pascal Huynh Ute Lemper, Patti LuPone, and Barbra Streisand Michael Morley C OLUMNS Kurt Weill Edition Report 4 New Publications 13 Selected Performances 23 News mission by donating a number of books, The New York Philharmonic cepted cataloging practices. They will recordings, photographs, and posters. fonn the basis for a future in-house, on Celebrates "Brecht, Weill, and The Zentrum will specialize in document · Berlin, 1929-1935" ing Weill's life in Dessau.